A Quote by Mena Massoud

I would wish we would get to a place of colour-blind casting, where it didn't matter what colour skin you are, where you came from, anybody could play anybody and we didn't judge it.
I'm interested in colour-blind hiring of directors, producers, and writers. Go to the source. Then we won't need to have conversations about colour-blind casting.
The colour of my skin determines what opportunities I have; the colour of my skin says there's only room for one or two of us to be accepted in a certain job; the colour of my skin has dictated everything I've done in my whole life.
When I used to do abstract paintings at school, like everyone else, the tutor said these would make great curtains. I would always neglect the formal stuff that was going on by using colour, because colour kind of came naturally to me.
A few years ago, I got cast as a white boy in an off-Broadway play. So not only was it colour-blind, it was gender-blind as well. That would never happen in film.
Make a choice: continue living your life feeling muddled in this abyss of self-misunderstanding, or you find your identity independent of it. You push for colour-blind casting; you draw your own box. You introduce yourself as who you are, not what colour your parents happen to be.
I got kicked out of four high schools just because people took issue with the colour of my skin. As if I could help the colour I was born.
I don't like the term 'colour-blind' - because I don't want people to be blind to my colour.
I had an idea for a story about a young woman who was living with people who were different, not just superficially different - such as hair colour, or eye colour, or skin colour - but different in some significant way.
I could learn photography. That could be something to want. I could photograph children. I could have my own children. I would give them yellow roses. And if they got too loud, I would just put them some place quiet. Put them in the oven. And I would kiss them every day, and tell them you don't have to be anybody, because I would know that being somebody doesn't make you anybody anyway.
The true colour of life is the colour of the body, the colour of the covered red, the implicit and not explicit red of the living heart and the pulses. It is the modest colour of the unpublished blood.
Accurate drawing, accurate colour, is perhaps not the essential thing to aim at, because the reflection of reality in a mirror, if it could be caught, colour and all, would not be a picture at all, no more than a photograph.
In the studio, we adhere to a strict colour code. Developed over decades, the colour code consists of a finite and precise colour palate... The whole world as we experience it comes to us through the mystic realm of colour.
I think a person of colour in any situation should be qualified to do the job. Not just because of the colour of their skin.
My mom always said to us, "You cannot judge anybody because of the color of skin." There were a lot of African immigrants in Italy at the time, and people would not even say hi in the street. And my mom, she would invite these people to the house. This is what I got from my mom: to not judge people because of their sexuality, their skin color, their religion, nothing.
The football field was a place where I could express myself and just be me. Play the game as well as you can and that's what you're judged on. Not the colour of your skin, or your beliefs, or the conversation you have around racism.
Colour, as the strange and magnificent expression of the inscrutable spectrum of Eternity, is beautiful and important to me as a painter; I use it to enrich the canvas and to probe more deeply into the object. Colour also decided, to a certain extent, my spiritual outlook, but it is subordinated to life, and above all, to the treatment of form. Too much emphasis on colour at the expense of form and space would make a double manifestation of itself on the canvas, and this would verge on craft work.
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